Tag Archives: Christian Patterson

Panto’s cheekiest duo, Jonathan Wilkes and Christian Patterson, are back – of course, they’re back – with another hilarious madcap extravaganza. The Robin Hood legend is merely a framework on which to hang the customary pantomime shenanigans, although there is some semblance of a plot with the archery contest for the golden arrow, and King Richard returning from the Crusades.

In the title role, Jonathan Wilkes with his schoolboy impertinence and his pleasant pop-star vocals is an irresistible lead. The home crowd that turn out in their droves to support him know what to expect, and we lap it up. Long-time confederate (ten years and counting) Christian Patterson starts off as a cheery, ruddy-cheeked Friar Tuck, getting up to monk-y business. The funniest moments of the show are whenever these two are on together, and the script contrives to keep them on together for as much as possible. Tuck, to distract the Sheriff, becomes a pantomime dame and opts to stay in drag for the rest of the show. Tuck by name…

As the Sheriff of Stokingham, the mighty Kai Owen is enjoyably sneering, spouting insults at the audience, looking like a cross between Lawrence Olivier’s Richard III and Claudia Winkelman. Finley Guy is an appealing, perky Maid Marian, who can give better than she gets in a sword fight with the baddie. This is just one of the production’s progressive elements, showing that female characters can be pro-active too.

Another welcome step is the inclusion of an openly gay character in the handsome form of Delme Thomas’s Will Scarlett. He could not be more camp, but the character is never ridiculed or belittled; he is accepted, included and valued, and that is very pleasing to see. Thomas commits to his high-camp characterisation and can ad lib with the best of them and sing like a dream.

Peter Bonner’s Little John lives up to his name. He’s a charming stage presence and a great sport. There are plenty of jokes at the expense of his diminutive stature, good-natured ribbing this may be but perhaps we will see a move away from this kind of humour too…

Baby steps.

The good fairy role is played by Rebecca Lisewski as the Spirit of Sherwood, combining fairy-tale glamour with a down-to-earth manner. Her singing voice is the best of the bunch and she gets to really let rip in the finale with a rousing rendition of This Is Me.

As ever, the choreography, by Nikki Wilkes and James Bennett, is superlative, performed by an attractive ensemble that contains some acrobatic men. The crowd is augmented by kids from the Wilkes Academy of Performing Arts. The songs are well-known and sing-along-able and some of the jokes are tell-along-able. Inclusion really is the watchword here!

There’s an impressive 3D sequence (the graphics in these things have definitely improved) along with traditional moments (a song-sheet, kids on stage, a stalking ghost…) The almost-obligatory Twelve Days of Christmas rapidly descends into chaos, and you might think the whole enterprise is just silly, knockabout fun, and indeed Wilkes and Patterson give the impression that it’s all slapdash. Well, slick it certainly isn’t – on the surface, at any rate. Patterson’s direction masks the professionalism beneath the giggles. There is a gobsmacking Play-That-Goes-Wrong moment, which I won’t give away, but it makes you realise these guys know exactly what they’re doing.

The laughs keep coming in this warm-hearted, who-farted, romp. It’s like catching up with old friends and having a cracker of a night out. A feast of fun, I advise you to Tuck in.

Aladdin is up there with Cinderella as one of the stronger pantomime plots, but it has the advantage of a strong villain role in the evil magician, Abanazar – played this time by Kai Owen. Owen is a formidable presence, menacing but not really threatening, and it falls to him and his machinations to keep the story going – otherwise it’s a lot of singing, dancing and messing around.

Back yet again is the dream duo of local star Jonathan Wilkes and everyone’s favourite dame, Christian Patterson, in the roles of Aladdin and his mother Widow Twankee respectively. The pair also co-direct and we are in safe hands: they know what they are doing to optimise the fun. In fact, it’s the interval before I notice the omission of Wishee Washee, but then I realise when your leading man is so funny, the show doesn’t need another comic presence. Wilkes and Patterson are perfect foils for each other, but they are also strong in their own right. The ageless Wilkes, with his cheeky smile, juvenile humour and pop star vocals is an irresistible, naughty boy persona. Patterson is never short of a twinkle in his heavily made-up eyes and you get the feeling whenever he utters something naughty, there’s something even naughtier just bubbling under the surface.

They are aided and abetted by a vivacious Amanda Coutts as the Spirit of the Ring, and an avuncular Simon Nehan as the Emperor – who has an Elmer Fudd speech impediment but is never mocked for this. Yazmin Wood’s Princess Jasmine sounds as good as she looks – she could do with better songs, to be honest.

The show is fast-moving and fresh (in more than one sense) and the fun is augmented by a couple of 3D sequences for which we all have to don the plastic glasses provided. Spectacles, indeed! The cast is supplemented by an ensemble of energetic, often acrobatic dancers, with Nikki Wilkes’s choreography adding to the exotic atmosphere, and there is a host of children from the Wilkes Academy for the big production numbers. There are pyrotechnics, an elephant, and a magic carpet, all adding to the wow factor, but in the end, it’s the humour that keeps people flocking to the Regent year after year. Traditional word-play routines, innuendo, and some apparently slapdash slapstick – there is a song about alternative jobs for the characters that requires split second timing to get it right (and wrong). The humour is crude but never crass, and the jokes come thick and fast. Two hours zoom by and it’s a real treat to be spend them in the company of these two pantomime favourites. Wilkes and Patterson had better be back next year or the riots will be in the streets rather than on the stage.

This touring show from the National Theatre is described as a work in progress – largely because, I suspect, Brexit has yet to happen and the debate still rages on – this absorbing piece of verbatim theatre, using the words of ordinary people from across the nation (as well as the drivel of politicians) to chart the country’s mood, before, during and after the referendum that split the UK in two.

In a clever framing device, writer Carol Ann Duffy has Britannia herself (Penny Layden) welcome representative from the regions to a meeting, a chance to listen. The regional reps are clearly distinguishable by their accents and attitudes. For example, Cymru (the marvellous Christian Patterson) enters voice first, as befits a Welshman; Laura Elphinstone’s North East rep is a hoot, deadpan and down-to-earth, plain-speaking and unpretentious. Cavan Clarke’s Northern Ireland breaks out into a spot of Riverdance in one of the show’s livelier moments, while Stuart McQuarrie’s Caledonia proudly recites Robert Burns, supplying the whisky and the pragmatism.

Britannia oversees as, in the voices of their ‘constituents’, the reps air the views of the people, complete with hesitations, repetitions and deviations, for spot-on authenticity. The opinions are often humorous, telling, and eye-opening. It’s like an extended episode of CreatureComforts with flesh-and-blood actors standing in for the plasticene animals.

For what is essentially a piece in which seven actors sit behind desks, it comes across as anything but static. Director Rufus Norris breaks up the recitations with action and humour – although most of the best lines come from the vox pops. The reps may be stereotypes but the many and varied statements we hear mark us as a nation of individuals, albeit with some shared characteristics. It’s almost as if the UK is a microcosm of the EU. Fancy that!

Britannia chips in statements from MPs. Her Boris Johnson is almost as vile as the real thing, as he tries to make bizarre and ludicrous analogies instead of facing issues head on. Layden positively drips evil as Nigel Farage, spewing his ‘voice of reason’ bile. Yuck. Although it’s not quite a year since the vote, the show brings it all flooding back, including the frustration and disbelief I felt at the mismanagement of the entire campaign by both sides.

More than that, the show is a celebration of British identity in all its manifestations, reminding us we have always been a diverse agglomeration of regional differences.

The show ends with Britannia saying she still loves us all and what we need more than ever is leadership.

Seemingly a permanent fixture for the Regent’s annual pantomime, the dream team double act of local hero Jonathan Wilkes and Welsh actor Christian Patterson are back with one of their best efforts in years. Appearing as one of the ugly sisters, Patterson has also written the script – a faithful, fast-moving and above all funny version that allows traditional routines, topical references and a rate of one-liners per minute that no other show this year can match.

Wilkes, on his home turf, can do no wrong, but he does not rest on his laurels, working tirelessly (This year my name is Buttons) to ensure everyone has a great time. His first entrance, purportedly in a cage borne by a gorilla, shows a level of self-awareness and mockery that endears him from the off: “I call him Robbie; he carries me everywhere.” Wilkes has a cheeky stage persona, excellent comic timing and also a good, old-fashioned pop singer’s voice that is a treat to hear.

In the title role is newcomer Finley Guy, a young performer who exudes star quality. Her Cinders is easily a match for the more seasoned professionals and she is more than able to carry scenes on her own. Her singing voice is strong and pleasant, making her one of the best I’ve seen in the role. Similarly, Owen Broughton’s Prince Charming makes a striking impression. Ian Stroughair’s Dandini is a wildly camp, flamboyant gay man but it is pleasing that his sexuality is not the butt (ha!) of any jokes – he is included and accepted, and that is refreshing. Michael Geary is fun as a wild-haired Baron Hardup who finally asserts himself, and Hannah Potts brings rhymes and giggles as a bubbly Fairy Cupcake – the transformation of Cinders from rags to ballgown is truly breath-taking and magical, right before our very eyes.

Simon Nehan pairs up with Patterson as the other sister, a villainous pair who also provide much of the laughter. The comic timing is impeccable – we love to hate them. Routines like Busy Bee and The 12 Days of Christmas are always hilarious when tackled by such skilled performers – youngsters in the audience who may not have seen them before are just as tickled as those of us who know what’s coming.

The dancers, choreographed by Nikki Wilkes, are excellent; elegantly acrobatic, the boys especially impress. Clearly, along with Guy and Broughton, students at the Wilkes Academy are of the highest calibre.

A glittering glut of gags and wonder, this Cinderella satisfies on every count. Wilkes and Patterson have triumphed again!

Every year I make the pilgrimage to the Potteries for one reason only: the Jonathan Wilkes pantomime. My reviews of previous productions all say the same thing: Wilkes is in his element, it’s great rough-and-ready knockabout fun, and so on.

And so I was looking forward to more of the same this year. That’s part of the deal with pantomime – you get more of the same.

Disappointingly, this year the shine has gone off the bauble. There is something not quite there. It’s not the production values; the show looks great. It’s not the music – in fact, the musical numbers sound a cut above anything else you might hear on the panto circuit, thanks to the astounding talent of West End star Louise Dearman as Alice Fitzwarren, and energy levels rise when the hard-working dance troupe comes on to perform Nikki Wilkes’s choreography.

The problem, I believe, lies in the lacklustre direction. Wilkes and his regular dame Christian Patterson share the director’s chair, not for the first time, but I detect a touch of complacency in their approach. On stage they are an excellent double act. They have proved this year after year and they are obviously good mates in the real world. But they do need a good kick up the arse.

The show comes across as more of a walk-through than a run. Familiar routines and corny jokes are all in place, but there is a sense of just going through the motions. The 12 Days ofChristmas is particularly offhand and slovenly. It’s not even a matter of a lack of surprises. When the material is so familiar, you need to see it delivered with skill and precision. Wilkes and Patterson can do, and have done, much better than this. It feels like they are phoning it in this year.

At one point a giant inflatable sausage springs from a hob, giving rise to off-colour gags, which may or may not be ad libs, and for a brief moment, the old sparkle is there. But, like the sausage, the show can’t maintain this level of freshness and fun and begins to flag and flop again.

On his home turf, Wilkes can do no wrong in the eyes of the locals. He is the family favourite doing his annual party trick. But I think the Wilkes-Patterson partnership needs perhaps to take a break. Or get in an outside director to put them through their paces. This Dick is flaccid and unsatisfying when it should be giving us a wild ride and leaving us breathless.

There are three reasons I travel to Stoke every year for the pantomime at the Regent. The first is Jonathan Wilkes, the local lad made good (never mind Robbie Whatsisname). He headlines (this year as ‘Muddles’) and from the reception he gets on his first entrance, it is clear they adore him here. It’s easy to see why, considering his cheeky persona, boyish good looks and pop-star singing voice. He also co-directs and over the years has developed into something of a leading light in pantomime. He may be playing to his home audience but, speaking as an ‘outsider’, I think he’d be a crowd-pleaser in any theatre.

Reason number two is Wilkes’s co-director and partner-in-panto, the ebullient Christian Patterson. More often than not, Patterson is in the cross-dressing role but in this show, there is nothing like a dame. This time he is Herman, henchman to the Wicked Queen. He is clearly a master of the genre and seeks to make his co-stars corpse through unexpected deviations and improvisations. In a lesser performer this might come across as self-indulgent but Patterson pitches it exactly right so that we are always in on his jokes and have as much fun as he’s having.

The third reason is the script by panto-god Eric Potts. In command of the form, Potts crams the dialogue with quick-fire gags, good and bad. He sticks to the plot but is skilful enough to incorporate a few surprises to keep things fresh. In this version, he dispenses with the usual scene of the dwarfs returning to the cottage to find the fugitive princess asleep on their beds. Instead, they rescue her from a zombie attack to the tune of Michael Jackson’s Thriller. It’s bonkers but it works. Potts knows not to make too many changes; the iconic scene in which Snow White accepts the poisoned apple gets the kiddies screaming. As it should.

The humour is never far from the toilet. This is unpretentious fare although the skills on display are deceptively sophisticated. It takes a lot of hard work to make something appear so joyously shambolic.

Potts brings Snow White to the fore. Played to the hilt by the winsome Katie Elin-Salt, she interacts with the audience and, at the denouement, is assertive in the face of the wicked Queen (a deliciously evil Debbie Chapman). There is strong support from Jamie Tyler’s Prince and Phil Holden as dwarf leader, Prof. But the show is stolen by an adorable turn from Paddy Holden as the silent Loopy.

This version allows the title characters plenty of stage time –it’s remarkable how in others they can be marginalised. My top tip to you is if the poster for the panto doesn’t feature the eponymous characters, watch out!

It may not have the biggest budget but this Snow White is rich in fun and heart, successfully blending traditional elements with contemporary references. I will definitely be back next year.

A few months ago, I attended the final of Stoke’s Top Talent, a local contest for local people. The winner, Carrie-Ann Williams, won a part in the pantomime. Not just a walk-on and five minutes in the spotlight but a fully integrated role. And so, there she is, opening the show as the Fairy Godmother, speaking in thankless rhyming couplets and wafting her wand about. Although still studying, Williams fits into the cast of professionals seamlessly. She gets to extend her acting experience, when the Fairy Godmother goes in disguise as an old beggar woman, searching for firewood, but, of course, she is also allowed to do what she does best and show us why she, rightfully won the talent contest. She closes the first act with her rendition of Nessun Dorma; this is no less incongruous than some of the pop songs we are subjected to, and, when the flying horse lifts Cinderella’s carriage out of the dry ice and the aria surges to its climax, it is truly spine-tingling. It is heartening to see the contest organisers following through on their promise.

The panto belongs to Jonathan Wilkes, local hero. He co-directs as well as dominating the action as Buttons; camp and cheeky bordering on puerile, Wilkes is an energetic presence, thoroughly at home in this genre and, indeed, this venue. He can do no wrong with this crowd and it is easy to see why. Tall, good-looking with a pleasant, old school pop-singer voice, Wilkes rules the roost.

He is supported by his co-director Christian Patterson as ugly sister Stacey – these two are clearly on the same wavelength and are enjoying themselves as much as the audience – and Torchwood’s Kai Owen as Nessa, Stacey’s equally obnoxious sibling. As you’d expect the costumes and the banter are outrageous. There is an emphasis on toilet humour and physical comedy, peppered with local namedropping and pop culture references. It’s knockabout fun, perhaps slapdash on the surface, but Wilkes and Patterson know exactly what they’re doing.

Eric Potts’s script focuses on the comedy. The jokes are quick fire and relentless, old, new, borrowed and blue, but Potts is also an advocate of the traditional pantomime routines, and so we get “Who’s in first” and “Busy Bee, Busy Bee” – the first a dazzling example of cross-talk, the second hilarious slapstick that still works brilliantly.

Rebecca Lisewski’s Cinderella is confidant rather than hard-done by, with a strong singing voice. Her duets with Jonathan Bremner’s dashing Prince Charming blend their voices well, although I found the choice of Katy Perry’s Firework a little jarring. I guess I’ve never felt like a plastic bag.

Jamie Tyler’s Dandini is an enthusiastic, upper-class twit, mugging and girning like a cartoon character, keeping the energy levels high in scenes that are basically exposition and Ian Redford’s Baron Hardup is a bumbling drunkard, ably supporting the shenanigans – he could be given more to do.

The show is thoroughly enjoyable from start to finish, managing to be up-to-date and traditional at the same time. Of all I have seen this season, this panto has the strongest local feel, which is encouraging to see in a venue that is part of a national chain. Wilkes, Patterson and Potts deliver the goods and pack the house. The management must be stoked.